The Pharmacist's Voice ® LLC

Episode 373: Author-Read Audiobooks with Laura English, Audiobook Narrator

Interview, Podcast

Should you narrate your own audiobook? In this episode, I talk with my friend and colleague Laura English, an audiobook narrator and producer who works closely with independent authors through Laura English Voice Over and Evergreen Studios.

We discuss why authors should consider an audiobook, how to practice and prepare, home recording versus studio recording, coaching and directing, proofing and pickups, technical specifications, distribution, and marketing. We also discuss three production paths: doing everything yourself, narrating your book while hiring help with post-production, or hiring a professional narrator.

Laura and I met during audiobook narration training in 2019. She was there when The Pharmacist’s Voice Podcast was still an idea, which makes this conversation a full-circle moment for me. Laura is not a pharmacist, but her experience is highly relevant to pharmacist authors and other subject-matter experts who are deciding whether to narrate their own nonfiction books.

As of August 2026, Laura offers audiobook consults at no cost. Book a discovery call with her, and get your questions answered. There are too many nuances to mention in a podcast episode, so don’t be shy — Contact Laura!

Laura English – Evergreen Studios: Simsbury, Connecticut

Why Make an Audiobook?

Laura encourages authors to think of audio as one more way for readers to experience a book. Some people prefer audiobooks, while “hybrid readers” move between print, ebook, and audio depending on where they are and what they are doing. Audiobooks also improve access for people who have low vision, dyslexia, limited literacy, difficulty holding a book, or other barriers to reading print.

Three Ways to Produce an Audiobook

Laura and I discuss three possible paths:

  1. Do everything yourself. Learn the performance and technical sides of audiobook production, record the book, proof the audio, make corrections, edit, master, and upload the files.
  2. Narrate your own book and hire help. Perform the material yourself, then work with a proof-listener and audio engineer to create retail-ready files.
  3. Hire a professional narrator. Choose a narrator who understands your subject and can manage or support the production process.

The right choice depends on your time, budget, access to professional help, production goals, and interest in learning the technical side of narration.

Practice Before You Commit

Laura recommends starting by reading a chapter aloud in a closet or another small, quiet room. Notice where you stumble, lose focus, rush, or misread a sentence. Then record three to five minutes on your phone and ask someone for honest feedback about your clarity, pacing, energy, and listener engagement.

The goal is to find your natural voice. Do not imitate another narrator or slip into an announcer voice. Talk to the listener instead of sounding as though you are reading at them. Nonfiction can be educational and entertaining without sounding patronizing.

Vocal stamina also varies. Laura recommends planning a short first session—perhaps 30 to 45 minutes of recording—before booking long blocks of studio time. Frequent breaks help protect both your voice and your body. Once production begins, try to record within a consistent period so your voice, recording environment, and delivery do not change noticeably between chapters.

Proofing, Pickups, and Technical Specifications

Every narrator makes mistakes. A proofer follows the manuscript while listening to the recording and identifies skipped text, incorrect words, unclear delivery, unwanted noises, and pronunciation problems. Those corrections are organized into a pickup packet so the narrator can rerecord them.

Authors of medical or technical books should give the proof-listener and engineer a pronunciation guide. You know your subject, and a list of unfamiliar names and terms helps the production team distinguish a correct specialized pronunciation from an error.

After the pickups are recorded, an engineer inserts the corrections, edits the files, and masters them to the chosen distributor’s specifications. Laura strongly recommends hiring an engineer if you do not intend to make audio production a regular part of your work. Recording an entire book before learning that the files do not meet specifications can mean doing the work again.

Plan Before Recording

Before starting, confirm that you control the audio rights to the book. Review the manuscript and decide which front and back matter will be included. Write the opening and closing credits in advance, read chapter headings as they appear in the print book, and allow pauses that help listeners understand the structure.

Audiobooks also need square cover art. Contact the original cover designer early rather than waiting until the narration is complete. 

If audiobook production is connected to your business, ask your tax professional whether any related costs may qualify as business expenses.

Distribution and Marketing

Laura encourages authors to research distributors instead of assuming there is only one choice. Options mentioned in the episode include ACX, Audiobooks Unleashed, and Author’s Republic. Consider whether you want exclusive or wide distribution and whether library availability is important to you.

When marketing, promote the book in all available formats. Add audiobook links to your website and newsletter, use QR codes at conferences and events, appear on relevant podcasts, share short audio samples, speak at libraries, and ask readers or colleagues for honest reviews. Authors may launch all formats together or stagger the audiobook release to create a second wave of attention.

Laura’s final message is simple: Get your books into audio. If you have written a book you care about, you can learn to narrate it, hire help for parts of the process, or work with a professional narrator. You have options.

Recording and Production Resources

Distribution and Marketing Resources

Related Episodes

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